Tom Green

One of the most polarizing figures in comedy during the late 1990s and early 21st century, Tom Green performed jaw-dropping acts of bad taste that alternately delighted and repelled viewers of his Can...
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Troubled by unfortunate event after unfortunate event The Watch sidesteps faux pas to come out on top as a consistently funny sci-fi comedy that doesn't let its high concept tangle up a bevy of one-liners. The script penned by Jared Stern Seth Rogen and Evan Goldberg assumes you've seen a few movies before entering the theater (mainly any sci-fi movie made in the 1980s). "Summer movie logic" is the foundation for The Watch's ridiculous plot which finds four adult nincompoops teaming up to form a Neighborhood Watch trying to solve the murder of a local Costco employee and eventually pursuing a killer extraterrestrial. Instead of making sense of it all The Watch wisely focuses on its four leads: Ben Stiller Vince Vaughn Jonah Hill and The IT Crowd's Richard Ayoade — a quartet whose bro banter goes a long way in spicing up the dust-covered material. There's nothing revelatory to be found in The Watch but the cast's knack for improv a poetry of the profane makes the adventure worth…viewing.
Director Akiva Schaffer (Hot Rod) establishes his two-dimensional characters quickly and bluntly smashing together broad personality types like a Hadron Collider of cinematic comedy. Stiller's Evan is a micromanaging do-gooder who can't find time for his wife; Hill's Franklin is a mildly disturbed weapons enthusiast yearning to join the police; Ayoade is the quaint weirdo who joins the Watch to fill the void left by his divorce; Vince Vaughn is Vince Vaughn: a loud crass gent looking for a bit of male bonding. The ragtag team assembles to fight crime but they spend most of their time drinking beers in a minivan — an affair they dub "stakeouts." A perfect opportunity for banter.
For a movie about enforcing the law and alien invasions there's a surprising lack of action in The Watch. Long stretches of the film see the central players yapping back and forth about everything: Russian nesting dolls peeing in cans or the similar viscosities of alien goo and human excrement. Charisma goes a long way and Vaughn does much of the heavy lifting making up for lost time out of the spotlight (he's been virtually nonexistent since 2005's Wedding Crashers). The man spits out jokes like no other — the rest of the cast barely keeps up. Ayoade balances out Vaughn's bombardment with a tempered timed delivery that's uniquely British and rarely found on the American big screen. Even when nothing's happening in The Watch it's rarely boring.
The Watch is at its best when it goes a step further mixing the group in with outsiders and throwing them off their rhythm. Billy Crudup cuts loose as a creepy neighbor and its delightfully weird while the always-impressive Rosemarie DeWitt as Evan's wife Abby brings unexpected warmth to the couple's relationship. Sadly The Watch mishandles its greatest asset: the aliens. The film never finds a pitch perfect blend of comedy and science fiction (Ghostbusters or Galaxy Quest this is not); a few scenes where the two come together hint at the best possible scenario but more often than not The Watch avoids its sci-fi roots. A moment in which the guys haul a dead alien back to their man cave plays like an E.T.-inspired version of The Hangover credits. It's lewd and ridiculous but the rest of the film struggles to maintain that energy.
Stiller Vaughn Hill and Ayoade have all proved themselves able funnymen capable of taking weak and tired material up a notch which they're forced to do in every moment of The Watch. Schaffer can handle his talent but his direction isn't adding anything to the mix. By the third slow-motion-set-to-gangster-rap scene The Lonely Island member's obsession with non-cool-coolness is officially just an attempt at being cool (which is not all that funny). The Watch has a greater opportunity than most comedy blockbusters to go absolutely bonkers: it's rated R. But instead of taking its twist and running with it the movie plays it safe. In this case safe is non-stop jokes about the many facets of human reproduction.

The actor, who passed away at his home in El Paso, Texas from apparent natural causes, was most famous for his role as George Jefferson in sitcom All in the Family and he later starred in a spin-off series, The Jeffersons, which featured a predominantly black cast.
Several stars have taken to their Twitter.com accounts to remember Hemsley and praise his legendary character, with rocker Tom Morello declaring, "RIP the great George Jefferson. Thanks so much to comedic pioneer Sherman Hemsley for bringing a black family into my white hometown."
Kravitz, whose late mother Roxie Roker was Hemsley's co-star on The Jeffersons, writes, "Rest in peace Sherman Hemsley. You are legendary. Your contribution changed the fabric of American culture. Growing up watching you on set with my mom was monumental", while Denise Richards adds, "George Jefferson, RIP Sherman Hemsley a comedic genius...my thoughts are with his loved ones.."
Referencing the show's theme tune, Movin' On Up by Ja'net Dubois, Duhamel states, "RIP Sherman Hemsley. MovinOnUp to heaven now", while director Smith laments, "G'bye, Sherman Hemsley. Your George Jefferson was so beloved, it earned you your own successful sitcom! Huge bucket of win! Move on up, sir."
Actress Marlee Matlin tells her Twitter followers, "Sad to read about passing of Sherman Hemsley, aka George Jefferson. RIP. Always very sweet to me", and Omar Epps adds, "RIP Sherman Hensley! Thank you for your art &amp; making me laugh throughout my childhood!"
Seth Green, Tamera Mowry-Housley, Russell Simmons, Jesse Williams, Alyssa Milano and Holly Robinson Peete also paid their respects to Hemsley on the microblogging site.

It was reported earlier today that iconic comedian Sherman Hemsley, famous for starring on the iconic television series The Jeffersons as George Jefferson, passed away at age 74 today. Hemsley was well-known for his comedic talents, which carried the show through its eleven seasons--a staggering achievement. So it is unsurprising that many in the Hollywood community deeply felt this loss, as Hemsley's talents defined many people's TV-watching experience in the 70s, 80s and beyond. Whether moving up to a deluxe apartment or causing problems as B.P. Richfield on The Dinosaurs, Hemsley's hold on the American television experience was deeply felt, and will be deeply missed.
Several of his fellow friends and fans expressed their sadness over the loss, and can be seen below.
George Jefferson, RIP Sherman Hemsley a comedic genius...my thoughts are with his loved ones..— Denise Richards (@DENISE_RICHARDS) July 24, 2012
"George...Jefferson...still lives..." --last words of Sherman Hemsley— Ken Jennings (@KenJennings) July 24, 2012
RIP the great George Jefferson. Thanks so much to comedic pioneer Sherman Hemsley for bringing a black family into my white hometown— Tom Morello (@tmorello) July 24, 2012
RIP SHERMAN HEMSLEY ... You were brilliant at your craft!You taught me pure comedy. Such a pleasure working with a such a great talent.— Tamera Mowry-Housley (@TameraMowryTwo) July 24, 2012
Rest in peace Sherman Hemsley. You are legendary. Your contribution changed the fabric of American culture...— Lenny Kravitz (@LennyKravitz) July 24, 2012
RIP >Sherman Hemsley aka George Jeffersonoriginal #Boss Originator of #Swag. My tv youth hero! RIP!Movin on up— Rev Run (@RevRunWisdom) July 24, 2012
#RIP Sherman Hemsley. He's moving on up to heaven. God Bless and much respect. Thank you for the laughs and the smiles.— Mehcad Brooks (@MehcadBrooks) July 24, 2012
RIP Sherman Hemsley. Mr Jefferson.— Bun B (@BunBTrillOG) July 24, 2012
I love George Jefferson &amp; Deacon Frye like family. Thanks for being awesome Sherman Hemsley. say.ly/IOd3Pvv— Seth Green (@SethGreen) July 24, 2012
Sherman Hemsley you'l be missed— Questo of The Roots (@questlove) July 24, 2012
RIP the OG Tupac walker, Sherman Hemsley.— Anders Holm (@ders808) July 24, 2012
RIP Sherman Hemsley. #MovinOnUp to heaven now. bit.ly/Ml4zgi— Josh Duhamel (@joshduhamel) July 24, 2012
Rest in Peace (in a delux apartment in the sky), Sherman Hemsley.— Alyssa Milano (@Alyssa_Milano) July 24, 2012
God bless Sherman Hemsley BKA George Jefferson. He's gone to be with the Lord. He made me dream I could move on up. Truth— DeionSanders (@DeionSanders) July 24, 2012
G'bye, Sherman Hemsley. Your George Jefferson was so beloved, it earned you your own successful sitcom! Huge bucket of win! Move on up, sir.— KevinSmith (@ThatKevinSmith) July 24, 2012
Wow. Sending LOVE > RT @JackeeHarry: RIP To My Longtime Friend &amp; Comedic LEGEND, Sherman Hemsley aka George Jefferson. #NeverToBeForgotten— Nicki Minaj (@NICKIMINAJ) July 24, 2012
RIP Sherman Hemsley aka George Jefferson. rest peacefully in the de-luxe apartment in the sky...bit.ly/LLIYft— Russell Simmons (@UncleRUSH) July 24, 2012
Follow Alicia on Twitter @alicialutes.
More:
Sherman Hemsley Dies
Remembering George Jefferson

Those reality show producers aren’t kidding when they say you only get one shot at glory. That’s why four the members of So You Think You Can Dance’s top 20 went home on Wednesday night, after getting just one chance to prove themselves.
Of course, the judges had some say in the matter: Nigel, Mary, and Adam Shankman were presented with the bottom six, and they got a chance to save their two faves. Basically, that meant that Witney, the Season 9 Golden Child, and a few select others were staying in the competition, no matter what. (Spoiler alert!)
I spent much of the opening number — a Phantom of the Opera-esque tribute, choreographed by Tabitha and Napoleon, that had the top 20 outfitted in red and black sequins and so much makeup I couldn’t determine their identities — wondering how the producers would squeeze 10 performances and a mini-elimination show into a mere two-hour telecast. But have no fear: Nigel can do anything. Oh, and he did.
The first elimination show kicked off with the requisite awkwardness. Adam told Cat that her red dress made her look like a sexy tomato, and Cat challenged him to “take a bite” while Adam pretended to be interested. Then Lindsay and Cole performed a routine about a nerdy kid embarking upon a dental checkup with Jennifer Aniston’s character in Horrible Bosses.
Seriously, that was actually the inspiration.
Cole started off the routine in a dentist’s chair while Lindsay pretended to striptease for him. For at least half the number, Cole didn’t do much besides sit in the chair and react to Lindsay, but I suppose they get credit for an original story — and for the acting. Cole didn’t break character, even for the judging, which was equal parts amusing and serial killer-ish.
Nigel told them he appreciated their characterization, but that Lindsay’s performance was immature and she tried too hard to play to the audience. In her defense, she’s 18, so it’s safe to say that playing a hooker dentist is a stretch. Mary told Lindsay she needs to bring better acting skills to the table, but told Cole he’s a lean, mean dancing machine. Adam told our 18-year-old ballroom dancer to bring more sex to the table. Yup.
Next up, Amelia and Will got a “heavy, treacherous, desperate” emotional routine, courtesy of Sonya, which played right into Amelia’s wheelhouse, unlike last week’s fun routine — which she also killed. Coming into the show, I was a little worried about her, but this routine sealed her fate. Not that it would be in question, anyway. (Spoiler alert!)
Oh, and then there was Will. Why do the guys always wear black and the ladies wear the bright, exciting colors? It was almost hard to remember he was there; I’m not sure if that was because Amelia was excellent or because it was dark on the stage and Will’s outfit blended into the background.
Mary gave them a "WOO," told Will he brought the routine to life (ummkay) and is “rising to the occasion.” Adam gave them a standing O, gushed over Sonya, told Amelia she’s brilliant, and said Will stepped it up. Nigel said he appreciated how Amelia buries her quirkiness in order to fit into whatever routine she’s given, which is a great point. Coming into the top 20, the judges’ biggest fear was that she wouldn’t be able to excel with anyone’s choreography except her own. Guess she quelled that fear.
Amber and Nick received the season’s first tango routine — perfect for Nick, the ballroom guy, but not so much for Amber, who already has trouble connecting with him. Once again, she wore bright red and he wore all black, but because of the nature of tango, neither of them upstaged the other. Well, that’s a lie; Amber was so fluid and her lines were so clean that you could’ve convinced me this was her specialty. She had her game face on the whole time.
NEXT: Stank Steps!Adam simultaneously told Amber and Nick that they were way too corny but also hot, then gave Amber props for becoming a “fire dragon.” He said Nick made Amber look good, but unfortunately, he seemed like little more than the lady’s partner. Nigel compared Amber to a cobra ready to pounce (so much reptilian imagery!) and said she made herself look good — it had nothing to do with Nick. Mary said they made the most challenging routine of the night look easy.
Audrey and Matthew were supposed to be strong, vicious, and aggressive, which was an interesting challenge for Audrey, considering she doesn’t exactly strike fear in others. Still, these two are an excellent pair, and they feed off each other, emotionally and physically. That’s the difference between them and the other pairs. Plus, the fact that her extension is ridiculous doesn’t hurt. This is the first time I’ve thought maybe she could win the whole thing — she’s likable and super talented.
Nigel commended Sonya’s dark style this season and the “stank steps” she choreographed. Mary was impressed by Audrey’s extension. Adam told Audrey that he doubted her until the Green Mile episode, but not anymore; then, he said the competition is Matthew’s to lose. Guyliner and all.
Janelle and Dareian were saddled with a cheesy, old-timey number set to “My Girl,” in which Dareian was supposed to be gearing up for the courage to propose at the end. Janelle wasn’t that into it because Dareian reminds her of Donald Duck, but still, she gave her best effort with the acting. Adam is right that this season’s routines are super corny — from the over-indulgent facial expressions, to the choreography requiring Dareian to put his jacket around Janelle’s shoulders … sigh. This kind of stuff reminds of that show American Dreams.
As for the routine-ending proposal, Janelle accepted, and then they made out. Ow ow.
Adam said Dareian was fine, but Janelle, she failed to become invested in her character and will probably lose votes because of it. Don’t sugarcoat it or anything. Nigel was inspired by the routine and thought both dancers were unchallenged by the choreography. Ouchies. When Mary gave her critique, it was so quiet in the studio that you could hear a pin drop, but Adam took care of the awkwardness by nearly pushing Mary’s chair off the podium in order to pretend to kiss Nigel.
Seriously, though. This performance truly makes you wonder if Janelle can do anything besides bellydancing.
Janaya and Brandon did a Broadway routine about two lovebirds at a bus stop. Well, not two — one. Janaya was the pursuer, and Brandon was having none of it. I was not a fan of the fact that so many of the night’s routines relied so much more on the acting rather than the dancing, but I suppose that’s the nature of the beast in this industry. As Adam says, sometimes it’s going to be more about the characters.
At least these two ended on a high note by wrestling and tumbling across the floor. Also, I must point out that Janaya’s red printed tutu was way inappropriate attire for a bus stop.
Adam commended choreographer Sean and told both Janaya and Brandon that they, for a change, were suitably invested in the characters. Nigel thought the number was brilliant and both dancers did a terrific job getting into it, and I’d have to agree that Janaya showed some personality for the first time this season.
Next up, Eliana and Cyrus attacked the season’s first jive, and Cyrus celebrated by unbuttoning his (all black) shirt to his navel. These two got the seventh pick in the choreography draw, and somehow, the jive was the lesser of the four remaining evils. Poor Cyrus. He wasn’t built for this kind of choreography. He struggled with the transitions and with the steps, but at least he tried — and he was a good partner for Eliana, who spent the entire judging segment giving him a pitying, “there, there” smile.
Mary verbally slaughtered Cyrus for his struggles but told Eliana her star is still shining. Adam said the inside of Cyrus’ head probably resembled a zoo if all the animals had escaped, but he still loves Cyrus’ heart — and the things he can do when he’s allowed to stay in his personal-style box. Nope, Cyrus isn’t going home, no matter how many jives he has to do. Nigel told Eliana she has a tough job because she’s Cyrus’ partner — verbatim. Double ouchies. I love Cyrus because no matter what the judges say to him, he just stares at them with a blank grin. Perhaps the inside of his head is more like the inside of an aquarium, not a zoo.
NEXT: The first elimination!
Alexa and Daniel are somehow two of the most skilled dancers in this competition, but also two of the most uninspiring and bland. They danced around a bathtub meant to allude to the concept of drowning in emotions, which was hilarious because it was them, the two people who have the hardest time connecting to any sort of emotion whatsoever when they dance.
Technically, they were still perfect — clean lines, good extension, and they were especially impressive given the routine’s level of difficulty — but they were stiff. They were like singers who could hit towering notes but didn’t appear to care at all.
But alas, at least Daniel was wearing a Speedo once again. And neither of them wore black. Hooray!
As they finished, Cat mumbled something about how they were like Tom Hanks and Daryl Hannah, but luckily, she’s not a judge. Adam said that after that bath, he should’ve wanted to take a shower, but he didn’t —A lexa and Daniel were too chilly. Mary agreed; the execution was perfect, but there was no chemistry. Nigel said Dee Caspary’s choreography was beautiful, but he concurred that there was too much concentration on the steps and nowhere near enough immersion in the emotion.
My own totally relevant observations: Daniel talks like Mr. G from Summer Heights High (I’m sure going to miss that — oops!), and why did Alexa’s hair look so wet? Ew. (I won’t miss that at all.)
Tiffany and George were forced to do the fox trot, despite the fact that there are at least three ballroom technicians in our presence this season who could’ve killed this. George didn’t struggle as much as Tiffany, who just looked sloppy — I thought her lines were weak, and she seemed tentative and uncommitted to the choreography. George somehow upstaged her and her pastel, sparkly dress, so kudos to him.
Mary loved the routine and even WOO’d them, which truly befuddled me. Then she told Tiffany the fox trot was the perfect fit for her, which befuddled me even further. Adam was madly in love with the number (his words) and said both Tiffany and George were in-freaking-credible. Nigel believes the two of them have a terrific connection — I don’t dispute that — and the routine made his heart smile.
I don’t get it. The only word I can muster for this number was lazy, but I suppose it’s up to America now.
Last up were Witney, dressed as Janelle, and Chehon, dressed as himself, and by that I mean shirtless. Bollywood time!
This routine deserved to be last; it was certainly the most entertaining of the night. I didn’t think Witney had this in her — truthfully, I didn’t think she had much aside from ballroom in her — but she so did. Both of them were perfectly in rhythm — no small feat, given this number’s tempo — and they were perfectly in sync. There were a couple of select times where the lady looked like she was concentrating a bit too hard, but she probably needed it. This routine was a beast, and they both nailed it.
Adam had a hard time critiquing either of them because they were so fantastic, but he did tell Witney she needs to dance with a longer neck — and now that he said it, she did look a bit hunched. Mary told Chehon he was on fire and was far better suited for Bollywood than last week’s samba. I agree that he let go and seemed to enjoy himself for the first time; I always think of him as a dull, Daniel-esque dancer, but not tonight.
Without further, ado, dun dun dun — it was time for the eliminations. American Idol should take notes from this: SYTYCD completed a full elimination show in 24 minutes, commercials included. It certainly helped that they avoided any of those tedious, four-minute performance review packages that tend to last longer than the original performances.
Promptly after the last performance, Cat brought all 20 dancers back onstage, dressed in street clothes (except Witney and Chehon, who remained in their Bollywood costumes) and got right down to business. America, here’s your bottom six:
Alexa
Witney
Janaya
Nick
Chehon
Daniel
Nigel opted to avoid seeing anyone re-dance (surely, the time constraints had nothing to do with that). Interestingly, Janaya and Nick both ended up in the bottom without their partners, but there’s no surprise there — Janaya was forgettable in a sea of very talented ladies, and Nick was upstaged two weeks in a row by his partner, Amber.
The early results immediately spelled doom for both Janaya and Alexa — there was no way Nigel would send home his new Lauren Alaina after just one week. As for the boys, Nick and Daniel had to be worried as the two guys who had the toughest time connecting emotionally with any of the material.
Chehon was never a blubbering wad of emotion, but he has enormous potential and, in addition to being technically perfect, was the only one of the three guys who improved substantially from week 1 to week 2.
After a short recess from the results for some shameless plugging of Adam’s new Step Up movie — which stars some notable SYTYCD alums, including Twitch and Tony Bellissimo — the dancers from the movie took the stage for a live performance. Meanwhile, forget what I said about the absence of those useless video packages and irrelevant guest performances.
Before the judges used their saves, Nigel spent several minutes explaining that there was no voting off in the world of SYTYCD — there was only voting in. I doubt that made the elimination any harder to swallow for Alexa and Janaya. That’s right, in the most suspense-less verdict in history, Witney got the first save, and she deserved it. Alexa has always struggles to inspire anyone who’s watching her, where as Janaya has been forgettable for two weeks in a row, Witney has been anything but.
As expected, her partner-in-crime, Chehon, got the boys’ save. This one makes too much sense — both Daniel and Nick were good, but this week, they weren’t good enough to save themselves. Chehon was.
What did you think? Did the right guys and girls go home? Who would you have saved? And who’s in danger next week?
[Photo Credit: Fox]
More:
'So You Think You Can Dance': Top 20 Announced
2012 Emmy Awards: See The Full List of Nominees

Now that Megan Fox has declared (via obvious bikini baby bump pics) that she's indeed pregnant, she doesn't seem to have many official projects on her upcoming list. Time off to care for baby, perhaps? She does have one TV project in the cooker, though. She'll appear in the Robot Chicken DC Comics Special on Adult Swim, providing the voice of Superman's sexy lady, Lois Lane. Not many details are known yet but co-creators Seth Green and Matthew Senreich, Tom Root, Matthew Beans and star Breckin Meyer will appear alongside DC Entertainment’s Geoff Johns to preview the special at Comic-Con on July 13. But it's unlikely Fox will be sharing her animated special with her little one any time soon. Robot Chicken comes with a "17 and up" warning. More:Megan Fox Looks Very Pregnant, So Why Won't She Admit It? — PICSMegan Fox: I'm Tired of Playing Sexy, Robotic WomenMegan Fox Attacked by a Giant Banana

Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

The 37 year old married her art consultant fiance Will Kopelman, 34, in a garden ceremony at her home in Montecito, California on Saturday evening (02Jun12), in front of 200 guests, including her Charlie's Angels co-star Cameron Diaz, actress Reese Witherspoon and comedian pal Jimmy Fallon.
The couple exchanged vows under a large tent in a Jewish ceremony officiated by Kopelman's family Rabbi, Eonline.com has confirmed.
Barrymore, who is rumoured to be pregnant with her first child, and her new husband both donned Chanel - the fashion firm his father, Arie Kopelman, used to run.
The nuptials were overseen by celebrity wedding planners Yifat Oren and Stefanie Cove, and took place the day after Barrymore gathered 70 friends and family members at the nearby San Ysidro Ranch for a rehearsal dinner.
Guests at the Friday night (01Jun12) event were each gifted with a basket full of local delicacies, including wine, olives and chocolate truffles.
Barrymore was previously married to bar owner Jeremy Thomas and comedian Tom Green. Both unions lasted less than five months.
The newlyweds have so far refused to comment on the pregnancy reports.

Third time's the charm! At least, that's what guests attending Drew Barrymore's wedding to Will Kopelman are likely hoping. Cameron Diaz, Jimmy Fallon, and others gathered at her Montecito, Calif., home Saturday to watch the actress wed her fiancé, Kopelman. Barrymore, who is expecting her first child with the art consultant, announced their engagement in January.
People.com reports that Barrymore walked down the aisle in a Chanel gown (particularly fitting since Kopelman's father, Arie Kopelman, was once the CEO of Chanel).
Of course, this isn't Barrymore's first trip down the aisle. She was married to bar owner Jeremy Thomas for two months in 1994 and to comedian Tom Green for five months in 2001.
Here's hoping her marriage to Kopelman boasts the longevity of her previous unwed relationships — the E.T. and Charlie's Angels actress dated The Strokes drummer Fabrizio Moretti for five years and Live Free or Die Hard actor Justin Long for over two years. More: Drew Barrymore Set to Wed in California Teenage Christian Bale Tried to Romance Drew Barrymore Drew Barrymore

The Charlie's Angels star will reportedly wed art consultant fiance Will Kopelman on Saturday evening (02Jun12) in Montecito, California and 70 guests, including her close pals Cameron Diaz and comedian Jimmy Fallon, are in the coastal town to celebrate with the bride-to-be.
Sources tell E! News that those who made the trip to Montecito for the alleged rehearsal dinner on Friday were gifted a basket full of local delicacies, including wine, olives and chocolate truffles.
The nuptials will take place at a private residence, according to reports, and will be overseen by celebrity wedding planner Yifat Oren, who masterminded Reese Witherspoon and Molly Sims' big days last year (11).
Barrymore, 37, was previously married to bar owner Jeremy Thomas in 1994 and comedian Tom Green in 2001. Both unions lasted less than five months.

Title

Brought out the rotting carcasses of a long dead raccoon and squirrel while appearing as a guest on the Canadian talk show "Open Mike" (also on The Comedy Network), causing host Mike Bullard to leave the set and a public outcry against Green's "shock comi

Debuted "The Tom Green Show" on Rogers community cable, an Ottawa public access channel where it ran for three years

Returned to the radio, changing the format from "Rap Show" to the comedy talk program "The Midnight Caller"

The popular local series was picked up by Canada's The Comedy Network, where it aired nationally for two seasons

Will host "Tom Green Live" a weekly call-in show on the web at ManiaTV.com live from his living room in the Hollywood Hills

After signing to A&M and scoring a Juno (Canada's equivalent of the Grammy) nomination, Organized Rhyme disbanded

Four days after surgery to remove a cancerous testicle, accompanied girlfriend Drew Barrymore to the Academy Awards

Hosted the radio program "Rap Show", a community college radio show that started out as a rap music program and evolved into a comedy call-in show

Hosted the Fifth Annual Golden Trailer Awards show

"The Tom Green Show" aired on MTV

At age seven, family settled in Ottawa (date approximate)

Won a school speech competition in grade six (date approximate)

"The Tom Green Show" aired in a shortened half-hour format in NYC on the public access Manhattan Neighborhood Network

Had a cameo in the film "Superstar", produced by Lorne Michaels and directed by Kids in the Hall alum Bruce McCulloch

Summary

One of the most polarizing figures in comedy during the late 1990s and early 21st century, Tom Green performed jaw-dropping acts of bad taste that alternately delighted and repelled viewers of his Canadian variety series, "The Tom Green Show" (Rogers Television 22/The Comedy Network/MTV, 1994-2000). Green's brand of humor was assaultive, extremely surreal and frequently repulsive, with dead animals, deranged verbal tirades and childish outbursts among his stock in trade. The show's no-holds-barred content made him a star in his native Canada before MTV picked it up for broadcast. Green enjoyed a brief tenure at the top of the Hollywood lists before the buzz petered out after a 2000 bout with testicular cancer ended his series and his 2001 feature "Freddy Got Fingered" was demolished by critics. After also famously marrying and divorcing actress Drew Barrymore, Green retreated to hosting his own talk shows online, where his humor was tempered by genuine interviews with other celebrities. More importantly, the format and media gave him complete creative control, which he wielded with frequently amusing results for his diminished yet loyal fan base.

Met in November 1999; Began dating in March 2000; Green made a cameo in "Charlie's Angels" (2000) on Barrymore's recommendation; Announced engagement in July 2000; After months of speculation and false announcements, confirmed they had eloped in March 2001 to the South Pacific; Remarried in a ceremony on July 7, 2001; Green filed for divorce on Dec. 17, 2001; Divorce finalized on Oct. 15, 2002 (Barrymore reportedly received the Los Angeles house and Green paid Barrymore $307,000)

Richard Green

Father

born c. 1942; worked for the Canadian military

Mary Green

Mother

born c. 1947; worked for the federal bank of Canada

Education

Name

Algonquin College of Applied Arts and Technology

Robert Hopkins Public School

Notes

"We can buy a few more props. Instead of using four loaves of bread in a skit, we'll use 10. Whoop it up." --Tom Green to the Toronto Sun, February 13, 1998 on what will change with "The Tom Green Show" moving from public access TV to Canada's The Comedy Network

Green on the appeal of "The Tom Green Show": "When you watch somebody reacting to me walking in to a store and pouring mustard down my throat, you feel their discomfort, but you're in the comfort of your home enjoying watching people in really awkward situations. When I'm sucking milk out of a cow's udder, that's not intended to get a laugh -- it's more [to provoke] disbelief. And it's a good way to teach people about nature." --quoted in Entertainment Weekly, March 12, 1999

Tom Green on his skewed "Candid Camera" approach to television: "I don't think I come off as someone who's just out to fuck up shit. I think I have a way of twisting something to make it a little sillier. It's not mean-spirited and blatantly destructive or sexist or sacrilegious. It's more flirting with that in such a way that it's kind of endearing. No one's getting hurt, and people like it." --to Rolling Stone, May 13, 1999

Dick Green, Tom's father and frequent televised practical joke victim, on Green's relationship with his parents: "The boy's always thinking of us. In what regard I'm not sure, but he's always thinking of us." --quoted in Details, May 1999

"In 20 years, I don't want to be barging into grocery stores and knocking jam jars off shelves, but it works now. Me and the writers will keep fine-tuning and exploring and see where else it leads." --Tom Green quoted in USA Today, July 7, 1999

Green on why he has turned down MTV's offer of higher tech field equipment, why he wants to keep the operation small: "The people are supposed to think I'm some kid that came out of college and is fucking around with his video camera and is being a fuck and they're saying 'Get the fuck out of my shop, you stupid fuck.' If they think it's NBC coming in, they're going to be checking their hair and trying to think of something witty to say.

"They shouldn't be afraid to punch me in the face. In fact, we want them to punch me. Actually, no! No, don't say that! We don't really want them to punch me!" --to Rolling Stone, September 16, 1999

On how "The Tom Green Show" convinces the people involved in the pranks to consent to the broadcast: "We usually are able to convince them because the stuff that I'm doing never really makes them look bad . . . I'm being a doofus and they're being surprised by the doofus." --Green quoted in Los Angeles Times, May 7, 2000

Tom Green on the worries that accompanied his bout with testicular cancer: "Are people going to look at me the same way? Are they going to relate to me the same way? What would kids that watch my show think if they knew I had a testicle removed? Am I not as funny a person anymore? Do people not laugh as much at a guy with one testicle?

"As a comedian, I don't think it's good when the audience feels sympathy for you. I think that hurts your chances of making them laugh." --to Rolling Stone, June 8, 2000

Green on how he decided to deal with his illness in light of his public persona: "God said, 'Holy shit, Tom, I'm going to give you a curable form of cancer on your genitals, so you can have an unlimited license to do all the potty humor you want and talk about your balls and testicles on TV and nobody's going to be able to say no because you've got cancer there, so it's serious, so go for it. You're going to top the Monica Lewinsky show with this one, and I'm behind ya!'"-- quoted in Rolling Stone, June 8, 2000